BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20141026T020000 RDATE:20150329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20151025T020000 RDATE:20160327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20161030T020000 RDATE:20170326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20171029T020000 RDATE:20180325T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20181028T020000 RDATE:20190331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20191027T020000 RDATE:20200329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20201025T020000 RDATE:20210328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20211031T020000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20140519T093000 RDATE:20141026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20150329T030000 RDATE:20151025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20160327T030000 RDATE:20161030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20170326T030000 RDATE:20171029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20180325T030000 RDATE:20181028T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20190331T030000 RDATE:20191027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20200329T030000 RDATE:20201025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20210328T030000 RDATE:20211031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:bf5cf99ea6b6a6d5d2e867e32b335e45 CATEGORIES:Colloques, Séminaire du CREM, CREM CREATED:20170925T132119 SUMMARY:Between Speech and Song : Liminal Utterances LOCATION:Bâtiment Grappin (B)\, salle des conférences DESCRIPTION:23e colloque ICTM — organisé par le CREM \nProposé sous l’égide de l’Intern ational Council for Traditional Music (ICTM) et organisé par le Centre de r echerche en ethnomusicologie (CREM-LESC/CNRS) à l’université Paris Ouest Na nterre la Défense, ce colloque permettra aux spécialistes des interactions vocales de débattre durant trois jours des questions et des pistes actuelle s dans l’étude des énoncés liminaires. L’objet appelant par nature le crois ement de plusieurs disciplines, les chercheurs invités, au nombre de vingt, proviennent de l’anthropologie, de l’ethnolinguistique, de l’ethnomusicolo gie, et de l’acoustique. S’y ajoutent des ingénieurs en traitement des arch ives et en analyse informatique du signal, qui travaillent actuellement à d e nouveaux outils d’indexation des formes vocales.\nComment caractériser la relation singulière que le langage entretient avec la voix ? Leur lien pou vait paraître évident avant le développement de l'écriture. Avec celle-ci c ependant, une part significative de la communication linguistique peut se d érouler en dehors de la vocalité, et ce quelle que soit la langue considéré e. De nombreux travaux en anthropologie et en linguistique ont par ailleurs montré que l’usage de voix dans le langage était perméable à d’autres mani ères d’utiliser l’appareil phonatoire. Décrits comme « chants », « cris », « lamentations », « psalmodies », « rires », « onomatopées » ou « idéophone s », ces usages de la voix ont en commun d’entrer dans une dynamique comple xe avec le langage articulé. Objets d’étude pour une part croissante de la communauté scientifique, ces énoncés liminaires interrogent également les i ngénieurs et archivistes confrontés à la nécessité d’en catégoriser les doc uments sonores selon des critères stables et cohérents. En parallèle, l’étu de pragmatique des interactions vocales rencontre d’autres cas-limite sous les traits de la glossolalie, du ventriloquisme, des voix « habitées » des médiums et des chamanes. Ces cas posent tous la question de la source d’ani mation du message, et de l’efficacité performative des énoncés en tant qu’a ctes vocaux.\nProposé sous l’égide de l’International Council for Tradition al Music (ICTM) et organisé au Centre de recherche en ethnomusicologie (CRE M-LESC/CNRS) à l’université Paris Ouest Nanterre la Défense, ce colloque pe rmettra aux spécialistes des interactions vocales de débattre durant trois jours des questions et des pistes actuelles dans l’étude des énoncés limina ires. L’objet appelant par nature le croisement de plusieurs disciplines, l es chercheurs invités, au nombre de vingt, proviennent de l’anthropologie, de l’ethnolinguistique, de l’ethnomusicologie, et de l’acoustique. S’y ajou tent des ingénieurs en traitement des archives et en analyse informatique d u signal, qui travaillent actuellement à de nouveaux outils d’indexation de s formes vocales.\n\nhttp://archives.crem-cnrs.fr/archives/items/CNRSMH_I_2 010_004_001_81/player/346x130/\n\nLa relation entre langage et musique a fa it l’objet d’un long débat en ethnomusicologie. Le sujet a été soulevé dans l'article de List sur la frontière entre parole et chant (1963), dans les travaux de George Herzog sur la relation entre musique et texte (1934, 1942 , 1950), et dans l'analyse du « discours musical » de John Blacking (1982). En une chaîne quasiment ininterrompue, différents travaux ont depuis préci sé les données ethnographiques sur différentes pratiques vocales aux fronti ères entre langage et musique (lamentations, récitations et psalmodies, cha nts dont les paroles sont ou non compréhensibles pour les locuteurs).\n\nEn ethnolinguistique, des auteurs tels Laura Graham (1984, 1987), Ellen Basso (1985), Charles Briggs (1993), Jean-Jacques Nattiez (1999), et Aaron Fox ( 1992, 2004) ont analysé des modes d’énonciation où la forme vocale prend le pas sur le contenu sémantique (salutations rituelles ou incantations théra peutiques par exemple), ou bien des formes d’interaction affectée par l’irr uption d’énonciateurs non-humains (divinités, esprits, animaux) dans la voi x des locuteurs. L’une des conclusions vers lesquelles ces travaux converge nt est que la musicalité du discours est un aspect crucial, trop souvent né gligé, ouvrant la voie à une description rigoureuse des croyances religieus es.\n\nTrès peu d'études ont cependant pris pour point de départ le lien ét roit qui existe entre les dimensions sémantique et acoustique de la voix (v oir Feld et Fox 1994). La fragmentation épistémologique du champ vocal entr e linguistique, musicologie et anthropologie reste un obstacle de taille. P our tenter de relever le défi, ce colloque portera précisément sur les énon cés liminaires situés à la frontière entre la voix parlée et chantée. Seron t privilégiés des matériaux comme les lamentations, le babillage, les compt ines, la récitation coranique, les narrations mélodisées et les contes chan tés, le scat, la glossolalie, ainsi que l’usage et les variations de la voi x dans la liturgie, le recours à l'iconicité du langage, ou encore à des je ux portant sur l'intonation dans les performances poétiques et les discours politiques. Au travers de ces études de cas, l’enjeu sera de croiser les a nalyses acoustique, sémantique et pragmatique des énoncés vocaux. Aux front ières de l’anthropologie, de l’ethnomusicologie, de la linguistique et de l ’ingénierie, le colloque s’inscrit dans une perspective interdisciplinaire qui fera surgir de nouveaux objets.\n \n23rd ICTM colloquium — organized by the CREMThe relation between speech and song is an old debate in ethnomusi cology. The topic was notably addressed List’s important article on the bou ndaries of speech and song (1963), in George Herzog's early explorations of the relationship between music and text (1934, 1942, 1950), and in John Bl acking's account of musical "discourse" (1982). Linguistically informed wor ks addressed the question as well, such as that by Laura Graham (1984, 1987 ), Charles Briggs (1993), Jean-Jacques Nattiez (1999), and Aaron Fox (1992, 2004).But five decades after List’s foundational article, the topic contin ues to inspire discussion. The reason may be, as Anthony Seeger suggested, that the separation of disciplines that study different aspects of “vocal a nd verbal art has had a disastrous effect on the development of our thinkin g about them” (1986: 59). The wish to reconsider this separation has been p ointed out for decades. This is particularly the case for studies focusing on liminal utterances, such as glossolalias or scat. Described by practitio ners as an “event occurring in my throat” (Certeau 1996: 38), glossolalias are cases of vocal production without clear semantic meaning which multipli es the possibilities of speech. The decomposition of syllables and the comb ination of elementary sounds in games of alliteration create “an indefinite  space outside of the jurisdiction of a language" (Certeau 1996: 42). In hi s study on scat, Brent Hayes Edwards (2002) also argues about an extended v ocal space: a continuum between instrumental uses of the voice and vocal us es of instruments. In jazz, both are supposed to narrate stories.But still very few studies build their analysis on the intimate link between the sema ntics and acoustics of voice production. As pointed out by Steven Feld and Aaron Fox (1994), most studies in ethnomusicology have difficulties in simu ltaneously taking into account the words and sounds of vocal production, an d combined analyses of the semantics and acoustics of vocal production are still very few and mostly unsatisfactory.\n\nTo try to take up this challen ge, this colloquium will focus on liminal utterances, at the border between speech and song. We will consider utterances such as laments, nursery rhym es, Qur'anic chanting, recitative or the use of the monotone voice in litur gy, iconicity of language, scat, glossolalias, melodized narrations, sung t ales, vocal intonation in poetical performances and in political discourses , among others. Special attention will be given to a deeply combined analys is of the acoustics and semantics of these utterances.\nRéférences\nBEAUDET Jean-Michel 1996 “Rire. Un exemple d'Amazonie”. L'Homme 36 (140): 81-99.\n BLACKING John 1982 “The Structure of Musical Discourse: The Problem of the Song Text”. Yearbook for Traditional Music 14: 15‑23.\nBRIGGS Charles L. 19 93 “Personal Sentiments and Polyphonic Voices in Warao Women’s Ritual Waili ng: Music and Poetics in a Critical and Collective Discourse”. American Ant hropologist 95(4): 929‑957.\nCERTEAU (DE) Michel 1996 “Vocal Utopias: Gloss olalias”. Representations 56: 29‑47.\nEDWARDS Brent Hayes 2002 “Louis Armst rong and the Syntax of Scat”. Critical Inquiry 28(3): 618‑649.\nFELD Steven & FOX Aaron 1994 “Music and Language”. Annual Review of Anthropology 2 3: 25―53.\nFOX Aaron 1992 “The Jukebox of History: Narratives of Loss and D esire in the Discourse of Country Music”. Popular Music 11(1): 53‑72.\n2004  Real Country: Music and Language in Working-Class Culture. Durham, N.C. : Duke University Press.\nGRAHAM Laura 1984 “Semanticity and Melody: Paramete rs of Contrast in Shavante Vocal Expression”. Latin American Music Review 5 (2): 161‑185.\n1987 “Three Modes of Shavante Vocal Expression: Wailing, Col lective Singing, and Political Oratory”, in Sherzer & Urban dir.: Nativ e South American Discourse. Berlin, New-York: Mouton de Gruyter: 83‑118.\nH ERZOG George 1934 “Speech-Melody and Primitive Music”. The Musical Quarterl y 20(4): 452‑466.\n1942 “The Text and Melody in Primitive Music”. Bulletin of the American Musicological Society 6: 10‑11.\n1950 “Song”, in Leach dir. : Funk and Wagnalls Standart Dictionary of Folklore, Mythology and Legend. New-York: Funk and Wagnalls 2: 1032‑1050.\nLIST George 1963 “The Boundaries of Speech and Song”. Ethnomusicology 7(1): 1‑16.\nNATTIEZ Jean-Jacques 199 9 Proust musicien. Paris : Christian Bourgeois éditeur.\nSEEGER Anthony 198 6 “Oratory Is Spoken, Myth Is Told, and Song Is Sung, But They Are All Musi c to My Ears”, in Sherzer & Urban dir.: Native South American Discourse . Berlin: Mouton de Gruyter: 59‑82.\nProgramme  (images/scalapi/eventscrem/ ICTM2015_programme_A4-2.pdf) \nOrganizersCoordination: Estelle AMY DE LA BR ETÈQUE (CREM-LESC/CNRS, France)\n\n\nScientific committeeBernd BRABEC DE MO RI (University of Music and Performing Arts, Austria)\n\nJunzo KAWADA (Kana gawa University, Japan)\n\nAnthony SEEGER (UCLA, USA)\n\nKati SZEGO (Memori al University of Newfoundland - Executive Board member of ICTM, Canada)\n\n Stephen WILD (Australian National University - Vice President of ICTM, Aust ralia)\n\n\nLocal organization committeeJean-Michel BEAUDET (UPO - CREM-LES C/CNRS)\n\nSusanne FÜRNISS (MNHN/CNRS, president of the French Society for Ethnomusicology)\n\nAndrea-Luz GUTIERREZ-CHOQUEVILCA (EPHE/LAS - Collège de France)\n\nGiordano MARMONE (UPO, CREM-LESC/CNRS)\n\nMagali De RUYTER (UPO , CREM-LESC/CNRS)\n\nVictor A. STOICHITA (Director of the Research Center f or Ethnomusicology – CREM-LESC/CNRS)\n\nWith additional help from: Loré Aji rent-Sagaspe, Éline Breton, Sisa Calapi, Preciosa Dombele, Laurence Lemaur  (ethnomusicology students at UPO) and Iris Lemaître (student in Librarian S tudies, UPO).\n\n\nPartner institutionsThe International Council for Tradit ional Music (http://www.ictmusic.org/) (ICTM) is a Non-Governmental Organis ation in formal consultative relations with UNESCO. Its aims are to further the study, practice, documentation, preservation and dissemination of trad itional music and dance of all countries. To these ends the Council organis es World Conferences, Symposia and Colloquia. The Council also promotes the se goals by publishing the Yearbook for Traditional Music (http://www.ictmu sic.org/publications/yearbook-for-traditional-music), distributing the onli ne Bulletin of the ICTM (http://www.ictmusic.org/publications/bulletin-ictm ), and maintaining a rich Online Membership Directory (http://www.ictmusic. org/civicrm/profile?gid=1&reset=1). By means of its wide international representation (http://www.ictmusic.org/world-network) and the activities o f its Study Groups, the International Council for Traditional Music acts as a bond among peoples of different cultures.\n\nThe Research Center in Ethn omusicology (http://crem-cnrs.fr/) (CREM) is heir to the former Ethnomusico logy Department of the Musée de l’Homme (1929-2008), and has been part of t he Research Team in Ethnology and Comparative Sociology (http://www.mae.u-p aris10.fr/lesc/) (LESC – UMR 7186) since 2007. The CREM is dedicated to the study of musical practices and knowledge worldwide.\nBased on ethnography and a systematic collection of musical data, its approach pertains to an an thropology of music conceived in its socio-cultural, aesthetic, formal, aco ustic, kinesthetic and cognitive dimensions. The Center investigates new re search topics such as the embodiment of musical and choreographic skills, t he cultural and cognitive production of musical emotion, the interconnected ness of sensory modalities, the ecology of sonic environments, the construc tion and emergence of musical systems. Its researchers also create new moda lities of musical representation (http://crem-cnrs.fr/realisations-multimed ia), such as their “listening clues” (clés d’écoute) : these multimedia dev ices guide the general public towards crucial aspects of specific musical e xpressions.\nThe CREM manages a large collection of sound archives (http:// archives.crem-cnrs.fr/) inherited from the Musée de l’Homme and accumulated over more than a century. With more than 4,000 hours of unpublished fieldw ork recordings and about 4,000 hours of published documents, these archives of great patrimonial value are made available online through the collabora tive platform Telemeta. The collections are constantly nourished through th e researchers’ fieldwork. The recordings are used as materials for new rese arch, as preparation for new fieldwork, and for the training of graduate st udents.\nCREM researchers, lecturers and professors hold important responsi bilities at the Anhropology department (https://dep-anthropologie.u-paris10 .fr/dpt-ufr-ssa-anthropologie/master-emad/) of Paris Ouest Nanterre – La Dé fense University, as well as at the Musicology Department (http://193.54.15 9.130/spip.php?article1685) of Paris 8 – St Denis University. Numerous grad uate students from these universities are members of the CREM, which offers them a stimulating scientific and logistic environment.\n\nThe ANR project DIADEMS (http://www.irit.fr/recherches/SAMOVA/DIADEMS/fr/welcome/&cult ureKey=en) (Description, Indexation, et Accès aux Documents Ethnomusicologi ques et Sonores) is a partnership between several teams dealing with acoust ics, ethnolinguistics and ethnomusicological documents, and informaticians. The laboratory of Ethnology and Comparative Sociology (LESC) including the research center of ethnomusicology (CREM) and the center of teaching and r esearch in American Indian ethnology (EREA) as well as the laboratory of an thropology of National Museum of Natural History (MNHN) are dealing with th e need to index the audio archives they manage, while keeping track of the contents, which is a long, fastidious and expensive task. Since 2007, as no open-source application exists on the market to access the audio data reco rded by researchers, the CREM-LESC, the LAM and the sound archives of the M NHN began the conception of an innovate and collaborative tool that answers the trade needs (linked to the documents temporal span), while being adapt ed to the researchers requirements.\nWith financial support from the CNRS T rès Grand Equipement (TGE), ADONIS and the Mnistry of culture, the Telemeta platform, developed by Parisson, is online since May 2011 (http://archives .crem-cnrs.fr (http://archives.crem-cnrs.fr/)). On this platform, basic sig nal analysis tools are already available, It is however mandatory to have a set of advanced and innovative tools for automatic or semi-automatique ind exing of this audio data, that includes sometimes long recordings, with qui te heterogeneous content and quality. The aim of the DIADEMS project is to supply some of these tools, to integrate them into Telemeta, while also sat isfying specific user needs related to ergonomy and accest rights managemen t.\n\nL'école doctorale « Milieux, cultures et sociétés du passé et du prés ent » (http://www.u-paris10.fr/recherche/ecole-doctorale-milieux-cultures-e t-societes-du-passe-et-du-present-ed-395-255195.kjsp) associe un ensemble d e disciplines : Archéologie, Ethnologie- Préhistoire-Ethnomusicologie, Géog raphie, Aménagement-urbanisme, Histoire, Histoire de l'Art, Langues et Lett res anciennes. Elle regroupe 9 équipes de recherche entre lesquelles se rép artissent quelque 460 doctorants et 105 directeurs de thèse.  Elle assure 3 missions au sein de l'Université : pédagogique — organisation des enseigne ments doctoraux et suivi des doctorants, soutien à la professionnalisation  ; organisationnelle — budget, contrats doctoraux, a politique de financemen t des thèses mais aussi de veille au respect de la charte des thèses de l'u niversité ; animation de la recherche —  recherche de convergences entre le s programmes des unités de recherche de manière à définir de grandes orient ations thématiques.\n\nLa Société française d’ethnomusicologie (SFE) (http: //ethnomusicologie.fr/) est une société savante dont la mission est d'encou rager, de soutenir et de promouvoir la réflexion sur les musiques du monde. La SFE, est aussi un réseau d’experts, actifs au sein d’institutions comme l’Unesco, les musées, les festivals ou les médias (presse écrite, radios, TV, internet), qui contribuent ainsi à la connaissance et à la diffusion de s expressions artistiques et culturelles de l’humanité. Elle est l’organe r eprésentatif de l’ICTM en France.\n\nAttendingThanks to our partner institu tions, attending the colloquium is entirely free for everyone.\n\nAudience members (apart from staff and invited speakers) are welcome to share the co llective meals, at their own expense.\n\nHotelInvited participants are host ed at Hôtel Qualys Nanterre (http://en.qualys-hotel.com/hotel/france/ile-de -france/nanterre/nanterre-paris-la-defense), 2, avenue Benoît Frachon 92000 Nanterre, Tel. 01 46 95 08 08.\nThe hotel is within a few minutes walk fro m the RER A stop "Nanterre Ville". \nTo plan your arrival, we suggest using the RATP route planner available here: http://www.ratp.fr/itineraires/en/r atp/recherche-avancee (http://www.ratp.fr/itineraires/en/ratp/recherche-ava ncee) If you encounter any difficulties with the planner, please email us y our travel details and we’ll check the best route for you.\n\nParticipants staying at the hotel will be provided upon their arrival with RER tickets f or the daily commuting between the hotel and the university (1 stop).\n\nIt is also possible to walk the distance, should you prefer to do so.\nEasies t way to arrive, whether from Paris or from the hotel, is by RER A, stop "N anterre Université". It is also possible to walk from the Hotel to the Univ ersity (straight walk, ca. 20 min).\nThe colloquium takes place on the camp us of Nanterre University, building B, Salle des Conférences. Below is a ma p of the campus.\n \n\n \n\n\n\n \nMealsLunches will be served at the unive rsity’s restaurant on campus — the pink building on the map above, named Re sto U.\n\nInvited speakers arriving on the 19th afternoon are invited for d inner at Hotel Qualys.\n\nDinners and vocal workshops on 20th and 21st will take place at the "Ferme du Bonheur". This is just in front of the buildin g marked "MAE" in green on the map (but it is not a component of the Univer sity, therefore it doesn’t appear on the map).\n\nFarewell dinner on 22nd w ill take place at Flam’s restaurant in Paris (Rue des Lombardshttp://crem-c nrs.fr/plugins/system/jcemediabox/img/zoom-link.gif (http://www.flams.fr/im ages/images_restaurants/Lombards/mapslombards2.png)); background-color: tra nsparent; display: inherit; background-position: right center; background-r epeat: no-repeat no-repeat;">).\n\nThe intention of this colloquium on L iminal utterances is to discuss "hands on", with as many audio and video ex amples as possible. The Multimedia Presentations are an experiment in that direction. Presenters were invited to combine audiovisual data and analysis in order to produce a (more-or-less) self-standing video file containing a n argument or simply raising questions about the illustrated sound practice s. These files are available below. They will also be played during the con ference, where each of them will be followed by extensive discussion sessio ns with their authors. Click on an image below to start a presentation (sho uld open an popup with a HTML5 video).\n\n\nLiminal utterances: multimedia presentations Between Speech and Song: Liminal utterances of sadness in Ana tolia and the Caucasus (http://crem-cnrs.fr/images/audio-video/ICTM2015_Amy DeLaBreteque_BetweenSpeechAndSong.mp4)ESTELLE AMY DE LA BRETEQUE (CREM-LESC /CNRS, France)This presentation explores the practice of melodized speech i n the Caucasus and Anatolia. Taking as a case study the Yezidi Kurds in Arm enia, it explains why this practice, linked to the narration of sad events, stands at the border between speech and song in the local typology of voca l production. On a wider area, the comparison of three case studies from fi eldwork conducted in Azerbaijan, Turkey and Armenia shows how elderly women integrate melodized speech in daily conversations. Beyond religious, natio nal and linguistic differences, the similarity of these practices suggests a shared social-vocal nexus in Anatolia and the Caucasus.\n\n \n\n \n\n\nTh e vocality of a religious poem among the Pomaks (http://crem-cnrs.fr/images /audio-video/ICTM2015_EftychiaDroutsa2015_VocalityReligiousPoem_web.mp4)EFT YCHIA DROUTSA (Iremus/University Paris 4 Sorbonne, France) \nThis work ques tions “vocality”, that is the sound production of speech and song among the Pomaks through their religious poem called mevlud.\n\n Dating from the 15t h century, the mevlud is a poem attributed to the poet Suleyman Çelebi, in which he relates the birth, the life and the death of the Prophète Mohamed. It is written in osmanli (Othoman, ancient Turkish in arabic characters) i n the poetic form of masnavi, structured in a series of versified distiches where each verse adheres on a metric regularity of eleven syllables. We fi nd this poem among Pomaks, a mountain population, muslim and trilingual, wh o speaktheir own Slavic dialect - Pomak -, Greek and Turkish. They live in the north of Greece in the area of Thrace and are recognized officially as “a religious minority” by the Greek Government. Pomaks learn to read the me vlud, on which they adapt a repetitive motif borrowed, modified and customi zed according to individual preferences and abilities. However, most of the m do not understand the literal meaning of the poetic text. It is in this p articular context, where the words are detached from their litteral meaning and become a medium for statement, that we will approach the duality of sp eech and song through a sound editing, where the words are sung, whispered, muttered, recited or simply said.\n\n \n\n \n\n\nDevelopment of turn takin g in vocal interaction between mothers and infants aged between 2 and 4 mon ths (http://crem-cnrs.fr/images/audio-video/ICTM2015_Infanti_infants.mp4)RU BIA INFANTI & EBRU YILMAZ (Laboratoire Ethologie, Cognition, Developmen t -EA 3456-, University Paris-West, France)Infants are known to engage in c onversation-like exchanges from the end of the second month after birth. Th ese ‘protoconversations’ involve both turn-taking and overlapping vocalizat ion. Previous research has shown that the timing of adult-infant turn-takin g sequences is close to that of adult verbal conversation. The gap between turns in protoconversational exchange seldom exceeds 500ms. It has also bee n shown that young infants adjust the quality of their vocalization in resp onse to the quality and timing of adult vocalization. Furthermore, turn-tak ing exchanges often involve mutual imitation of sounds, pitches and melodic contour. We present new evidence of the timing and temporal organization o f turn-taking interaction between mothers and 2 to 4-month-olds recorded in naturalistic contexts based on a corpus of recordings from 50 French dyads . All of them were recorded in naturalistic contexts, in their home, when i nfants were in a quiet alert state. The entire sample comprised a total of 2943 vocalizations of which 748 (25.4%) were produced by the infants, 1851 (62.9%) were produced by the mothers, and 344 were overlapping vocalization s (11.7%). In all, 489 turns taking sequences were identified. The quality and duration of infant vocalizations differed according to whether or not t hey were produced within a turn-taking sequence. Finally, length and number of turns were highly correlated between mothers and infants vocalizations. \n\n [Coming soon…]\n\n \n\n \n\n\nSung assemblies or declaimed songs? The samburu soloists (Kenya) on the border between political discussion and mus ical activity (http://crem-cnrs.fr/images/audio-video/ICTM2015_Marmone_Samb uru.mp4)GIORDANO MARMONE (CREM-LESC/University Paris West)Among the Samburu of Kenya the leaders and the spokesmen of the warriors' age-grade, the so- called larikok, play a fundamental role in both political and musical domai ns. The oratorical skills of which they must be provided to protect the int erests of the warriors during the assemblies, core of the Samburu political system, also allow them to stand out as main soloists during the singing a nd dancing\n\n \n\n \n\n\n  Ferdinand Brunot and the Archives de la Parole (http://crem-cnrs.fr/images/audio-video/ICTM2015_Picard_BrunotArchivesParol e.mp4)FRANÇOIS PICARD (Iremus, University Paris 4 Sorbonne, France)The Arch ives de la Parole or Spoken Archives have been founded by the French histor ian of French language and grammarian Ferdinand Brunot at Sorbonne universi ty in 1911. Using a Pathéphone phonograph, he recorded spoken or singing vo ices, he classified in main sections: I for “interprètes”, O for “orateurs” , L for «langues”, D for “dialectes”. Taking it as a solid corpus, we analy se it using digital tools according to the relation between pitch, intensit y and timbre, and find it possible through strong descriptors to recover lo cal, culturally meaningful, categories. The question of whether this new ca tegorisation could be universal will be asked.sessions. This double form of authority is based on what, among the Samburu, is considered as one of the essential features of male leadership: the ability of “dominating the word s” in all their forms, both sung and spoken. At the same time, this connect ion between political debate and soloist singing is not focused exclusively on the double social role of the larikok. The vocal technique that charact erizes a big part of the Samburu's musical repertoire, in fact, is definabl e as a form of speech shaped around the rhythm of the dance. It confers to the melodic contour of the soloist's part the prosodic characteristics of t he spoken language, making Samburu choral songs a sort of oratorical confro ntation between soloists, very close, structurally and verbally, to the ass emblies' debate scheme. The process of decision-making and the composition of the songs' lyrics lead, in both cases, to the creation of accounts which aim to expose opinions and stories based on real events. But if during the assemblies the speakers' purpose is to use their own charisma for the poli tical administration of the community as representatives of an age-grade's or an age-set's interests, during the singing and dancing sessions the solo ists have the responsibility to stand for their age-group and share with th e listeners the narrative of its collective memory, contributing to assert its presence within the society.\n X-ALT-DESC;FMTTYPE=text/html:

23e colloque ICTM — organisé par le CREM

 

Liminal Utte rances CREM ICTM 2015Proposé sous l’égide de l’International Council for Traditional Music (ICTM) et organisé par le Centre de recherche en eth nomusicologie (CREM-LESC/CNRS) à l’université Paris Ouest Nanterre la Défen se, ce colloque permettra aux spécialistes des interactions vocales de déba ttre durant trois jours des questions et des pistes actuelles dans l’étude des énoncés liminaires. L’objet appelant par nature le croisement de plusie urs disciplines, les chercheurs invités, au nombre de vingt, proviennent de l’anthropologie, de l’ethnolinguistique, de l’ethnomusicologie, et de l’ac oustique. S’y ajoutent des ingénieurs en traitement des archives et en anal yse informatique du signal, qui travaillent actuellement à de nouveaux outi ls d’indexation des formes vocales.

HPIM5699 BinBash Sketch1Comment caractériser la relation singulière que le langage entretient avec la voix& nbsp;? Leur lien pouvait paraître évident avant le développement de l'écrit ure. Avec celle-ci cependant, une part significative de la communication li nguistique peut se dérouler en dehors de la vocalité, et ce quelle que soit la langue considérée. De nombreux travaux en anthropologie et en linguisti que ont par ailleurs montré que l’usage de voix dans le langage était permé able à d’autres manières d’utiliser l’appareil phonatoire. Décrits comme «& nbsp;chants », « cris », « lamentations », «  psalmodies », « rires », « onomatopées » ou «  ;idéophones », ces usages de la voix ont en commun d’entrer dans une d ynamique complexe avec le langage articulé. Objets d’étude pour une part cr oissante de la communauté scientifique, ces énoncés liminaires interrogent également les ingénieurs et archivistes confrontés à la nécessité d’en caté goriser les documents sonores selon des critères stables et cohérents. En p arallèle, l’étude pragmatique des interactions vocales rencontre d’autres c as-limite sous les traits de la glossolalie, du ventriloquisme, des voix «& nbsp;habitées » des médiums et des chamanes. Ces cas posent tous la qu estion de la source d’animation du message, et de l’efficacité performative des énoncés en tant qu’actes vocaux.

Propos é sous l’égide de l’International Council for Traditional Music (ICTM) et o rganisé au Centre de recherche en ethnomusicologie (CREM-LESC/CNRS) à l’uni versité Paris Ouest Nanterre la Défense, ce colloque permettra aux spéciali stes des interactions vocales de débattre durant trois jours des questions et des pistes actuelles dans l’étude des énoncés liminaires. L’objet appela nt par nature le croisement de plusieurs disciplines, les chercheurs invité s, au nombre de vingt, proviennent de l’anthropologie, de l’ethnolinguistiq ue, de l’ethnomusicologie, et de l’acoustique. S’y ajoutent des ingénieurs en traitement des archives et en analyse informatique du signal, qui travai llent actuellement à de nouveaux outils d’indexation des formes vocales.


http://archives.crem-cnrs.fr/archi ves/items/CNRSMH_I_2010_004_001_81/player/346x130/

La relation entre langage et musique a fait l’objet d’un long débat en et hnomusicologie. Le sujet a été soulevé dans l'article de List sur la fronti ère entre parole et chant (1963), dans les travaux de George Herzog sur la relation entre musique et texte (1934, 1942, 1950), et dans l'analyse du «& nbsp;discours musical » de John Blacking (1982). En une chaîne quasime nt ininterrompue, différents travaux ont depuis précisé les données ethnogr aphiques sur différentes pratiques vocales aux frontières entre langage et musique (lamentations, récitations et psalmodies, chants dont les paroles s ont ou non compréhensibles pour les locuteurs).

En et hnolinguistique, des auteurs tels Laura Graham (1984, 1987), Ellen Basso (1 985), Charles Briggs (1993), Jean-Jacques Nattiez (1999), et Aaron Fox (199 2, 2004) ont analysé des modes d’énonciation où la forme vocale prend le pa s sur le contenu sémantique (salutations rituelles ou incantations thérapeu tiques par exemple), ou bien des formes d’interaction affectée par l’irrupt ion d’énonciateurs non-humains (divinités, esprits, animaux) dans la voix d es locuteurs. L’une des conclusions vers lesquelles ces travaux convergent est que la musicalité du discours est un aspect crucial, trop souvent négli gé, ouvrant la voie à une description rigoureuse des croyances religieuses.

Très peu d'études ont cependant pris pour point de d épart le lien étroit qui existe entre les dimensions sémantique et acoustiq ue de la voix (voir Feld et Fox 1994). La fragmentation épistémologique du champ vocal entre linguistique, musicologie et anthropologie reste un obsta cle de taille. Pour tenter de relever le défi, ce colloque portera précisém ent sur les énoncés liminaires situés à la frontière entre la voix parlée e t chantée. Seront privilégiés des matériaux comme les lamentations, le babi llage, les comptines, la récitation coranique, les narrations mélodisées et les contes chantés, le scat, la glossolalie, ainsi que l’usage et les vari ations de la voix dans la liturgie, le recours à l'iconicité du langage, ou encore à des jeux portant sur l'intonation dans les performances poétiques et les discours politiques. Au travers de ces études de cas, l’enjeu sera de croiser les analyses acoustique, sémantique et pragmatique des énoncés v ocaux. Aux frontières de l’anthropologie, de l’ethnomusicologie, de la ling uistique et de l’ingénierie, le colloque s’inscrit dans une perspective int erdisciplinaire qui fera surgir de nouveaux objets.

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23rd ICTM colloquium — organize d by the CREM

The relation between speech and song is an old debate in ethnomusicology. The topic was notably addressed List’s important article on the boundaries of speech and song (1963), in George H erzog's early explorations of the relationship between music and text (1934 , 1942, 1950), and in John Blacking's account of musical "discourse" (1982) . Linguistically informed works addressed the question as well, such as tha t by Laura Graham (1984, 1987), Charles Briggs (1993), Jean-Jacques Nattiez (1999), and Aaron Fox (1992, 2004).But five decades after Li st’s foundational article, the topic continues to inspire discussion. The r eason may be, as Anthony Seeger suggested, that the separation of disciplin es that study different aspects of “vocal and verbal art has had a disastro us effect on the development of our thinking about them” (1986: 59). T he wish to reconsider this separation has been pointed out for decades. Thi s is particularly the case for studies focusing on liminal utterances, such as glossolalias or scat. Described by practitioners as an “event occurring in my throat” (Certeau 1996: 38), glossolalias are cases of vocal pro duction without clear semantic meaning which multiplies the possibilities o f speech. The decomposition of syllables and the combination of elementary sounds in games of alliteration create “an indefinite space outside of the jurisdiction of a language" (Certeau 1996: 42). In his study on s cat, Brent Hayes Edwards (2002) also argues about an extended vocal space: a continuum between instrumental uses of the voice and vocal uses of instru ments. In jazz, both are supposed to narrate stories.

But stil l very few studies build their analysis on the intimate link between the se mantics and acoustics of voice production. As pointed out by Steven Feld an d Aaron Fox (1994), most studies in ethnomusicology have difficulties in si multaneously taking into account the words and sounds of vocal production, and combined analyses of the semantics and acoustics of vocal production ar e still very few and mostly unsatisfactory.

To try to take up this challenge, this colloquium will focus on liminal utterances, at the border between speech and song. We will consider utterances such as laments, nursery rhymes, Qur'anic chanting, recitative or the use of the mo notone voice in liturgy, iconicity of language, scat, glossolalias, melodiz ed narrations, sung tales, vocal intonation in poetical performances and in political discourses, among others. Special attention will be given to a d eeply combined analysis of the acoustics and semantics of these utterances.

Références

B EAUDET Jean-Michel 1996 “Rire. Un exemple d'Amazonie”. L'Homme& nbsp;36 (140): 81-99.
BLACKING John 1982 “The Structure of Musical Discourse: The Problem of the Song Text”. Yearbook for Trad itional Music 14: 15‑23.
BRIGGS Charles L. 1993 “P ersonal Sentiments and Polyphonic Voices in Warao Women’s Ritual Wailing: M usic and Poetics in a Critical and Collective Discourse”. American Anthropologist 95(4): 929‑957.
CERTEAU (DE) Michel 1996 “Vocal Utopias: Glossolalias”. Representations 56: 2 9‑47.
EDWARDS Brent Hayes 2002 “Louis Armstrong and the Syn tax of Scat”. Critical Inquiry 28(3): 618‑649.
FELD Steven & FOX Aaron 1994 “Music and Language”. Annual Review of Anthropology 23: 25―53.
FOX Aaron 1992 “ The Jukebox of History: Narratives of Loss and Desire in the Discourse of C ountry Music”. Popular Music 11(1): 53‑72.
2004 Real Country: Music and Language in Working-Class Culture . Durham, N.C. : Duke University Press.
GRAHAM Laura 1 984 “Semanticity and Melody: Parameters of Contrast in Shavante Vocal Expre ssion”. Latin American Music Review 5(2): 161‑185.< br />1987 “Three Modes of Shavante Vocal Expression: Wailing, Collectiv e Singing, and Political Oratory”, in Sherzer & Urban dir.: Nat ive South American Discourse. Berlin, New-York: Mouton de Gruyter: 83‑1 18.
HERZOG George 1934 “Speech-Melody and Primitive Music”.  The Musical Quarterly 20(4): 452‑466.
194 2 “The Text and Melody in Primitive Music”. Bulletin of the America n Musicological Society 6: 10‑11.
1950 “Song”, in Leach dir.: Funk and Wagnalls Standart Dictionary of Folklore, Myth ology and Legend. New-York: Funk and Wagnalls 2: 1032‑1050.
LIST George 1963 “The Boundaries of Speech and Song”. Eth nomusicology 7(1): 1‑16.
NATTIEZ Jean-Jacques 1999  Proust musicien. Paris : Christian Bourgeois éditeur.
SEEGER Anthony 1986 “Oratory Is Spoken, Myth Is Told, and Song Is Sung, But They Are All Music to My Ears”, in Sherzer & Urban dir.:& nbsp;Native South American Discourse. Berlin: Mouton de Gruyter: 59‑ 82.

Programme 

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Organizers

Coordination: Estelle AMY DE LA BRETÈQUE (CREM-LESC/CN RS, France)

Scientific committee

Bernd BRABEC DE MORI (Un iversity of Music and Performing Arts, Austria)

Junzo KAWADA (Kanagawa University, Japan)

Anthony SEEGER (UCLA, USA)

Kati SZEGO (Memorial University of Newfoundland - E xecutive Board member of ICTM, Canada)

Stephe n WILD (Australian National University - Vice President of IC TM, Australia)

Local o rganization committee

Jean-Michel BEAUDET (UPO - CREM-LESC/CNRS)

Susanne FÜRNISS  (MNHN/CNRS, president of the French Society for Ethnomusicol ogy)

Andrea-Luz GUTIERREZ-CHOQUEVILCA (EPHE/LAS - Collège de France)

Giordan o MARMONE (UPO, CREM-LESC/CNRS)

Magali De RUYTER (UPO, CREM-LESC/CNRS)

Victor A. STOICHITA (Director of the Research Center for Ethnomusicology – CREM-LESC/CNRS)

With additiona l help from: Loré Ajirent-Sagaspe, Éline Breton, Sisa Calapi, Preciosa Dombele,  ;Laurence Lemaur (ethnomusicology students at UPO) an d Iris Lemaître (student in Librarian Studies, U PO).

Partner institutions

The International Council for Traditiona l Music (ICTM) is a Non-Governmental Organisation in form al consultative relations with UNESCO. Its aims are to further the study, p ractice, documentation, preservation and dissemination of traditional music and dance of all countries. To these ends the Council organises World Conf erences, Symposia and Colloquia. The Council also promotes these goals by p ublishing the Yearbook fo r Traditional Music, distributing the online Bulletin of the ICTM, and maintaining a rich Online Membership Directory. By means of its  wide international representation and the activit ies of its Study Groups, the International Council for Traditional Music ac ts as a bond among peoples of different cultures.

The  Research Center in Ethnomusicology&nbs p;(CREM) is heir to the former Ethnomusicology Department of the Musée de l ’Homme (1929-2008), and has been part of the Re search Team in Ethnology and Comparative Sociology (LESC – UMR 718 6) since 2007. The CREM is dedicated to the study of musical practices and knowledge worldwide.
Based on ethnography and a systematic collection of musical data, its approach pertains to an anthropology of mus ic conceived in its socio-cultural, aesthetic, formal, acoustic, kinestheti c and cognitive dimensions. The Center investigates new research topics suc h as the embodiment of musical and choreographic skills, the cultural and c ognitive production of musical emotion, the interconnectedness of sensory m odalities, the ecology of sonic environments, the construction and emergenc e of musical systems. Its researchers also create new modalities of musical representation, such as their “l istening clues” (clés d’écoute) : these multimedia devices guide the general public towards crucial aspects of specific musical expressions.
The CREM manages a large collection o f sound archives inherited from the Musée de l’Homme and accumulat ed over more than a century. With more than 4,000 hours of unpublished fiel dwork recordings and about 4,000 hours of published documents, these archiv es of great patrimonial value are made available online through the collabo rative platform Telemeta. The collections are constantly nouris hed through the researchers’ fieldwork. The recordings are used as material s for new research, as preparation for new fieldwork, and for the training of graduate students.
CREM researchers, lecturers and profe ssors hold important responsibilities at the Anhropology department o f Paris Ouest Nanterre – La Défense University, as well as at the Musicology Department of Paris 8 – St Denis University. Numerous graduate students from these universities are me mbers of the CREM, which offers them a stimulating scientific and logistic environment.

The ANR project DIADEMS (Description, Indexation, et Accès aux Documents Ethnomusicologiques et Sonores) is a partnership between several teams dealing with acoustics, et hnolinguistics and ethnomusicological documents, and informaticians. The la boratory of Ethnology and Comparative Sociology (LESC) including the resear ch center of ethnomusicology (CREM) and the center of teaching and res earch in American Indian ethnology (EREA) as well as the laboratory of anth ropology of National Museum of Natural History (MNHN) are dealing with the need to index the audio archives they manage, while keeping track of the co ntents, which is a long, fastidious and expensive task. Since 2007, as no o pen-source application exists on the market to access the audio data record ed by researchers, the CREM-LESC, the LAM and the sound archives of the MNH N began the conception of an innovate and collaborative tool that answers t he trade needs (linked to the documents temporal span), while being adapted to the researchers requirements.
With financial support fr om the CNRS Très Grand Equipement (TGE), ADONIS and the Mnistry of culture, the Telemeta platform, developed by Parisson, is online since May 2011 (http://archives.crem-cnrs.fr). On this platform, basic signal analysis tools are already available, It is however mandatory to have a set of adva nced and innovative tools for automatic or semi-automatique indexing of thi s audio data, that includes sometimes long recordings, with quite heterogen eous content and quality. The aim of the DIADEMS project is to supply some of these tools, to integrate them into Telemeta, while also satisfying spec ific user needs related to ergonomy and accest rights management.

L'école doctorale « Milieux, cultures et sociétés du passé et du présent » a ssocie un ensemble de disciplines : Archéologie, Ethnologie- Préhistoire-Et hnomusicologie, Géographie, Aménagement-urbanisme, Histoire, Histoire de l' Art, Langues et Lettres anciennes. Elle regroupe 9 équipes de recherche ent re lesquelles se répartissent quelque 460 doctorants et 105 directeurs de t hèse.  Elle assure 3 missions au sein de l'Université : pédagogique —  organisation des enseignements doctoraux et suivi des doctorants, soutien à la professionnalisation ; organisationnelle — budget, contrats doctoraux, a politique de financement des thèses mais aussi de veille au respect de la charte des thèses de l'université ; animation de la recherche —  recherche de convergences entre les programmes des unités de recherche de manière à définir de grandes orientations thématiques.

La  Société française d’ethnomusicologie (SFE) est une société savante dont la mission est d'encourager, d e soutenir et de promouvoir la réflexion sur les musiques du monde. La SFE, est aussi un réseau d’experts, actifs au sein d’institutions comme l’Unesc o, les musées, les festivals ou les médias (presse écrite, radios, TV, inte rnet), qui contribuent ainsi à la connaissance et à la diffusion des expres sions artistiques et culturelles de l’humanité. Elle est l’organe représent atif de l’ICTM en France.

Attending

Thanks to our&nbs p;partner institutions, attending the colloquium is entirely f ree for everyone.

Audience members (apa rt from staff and invited speakers) are welcome to share the collective mea ls, at their own expense.

Hotel

Invited participants are hosted at Hôtel Qua lys Nanterre, 2, avenue Benoît Frachon 92000 Nanterre, Tel. 01 46 95 08 08.
The hotel is within a few minutes walk from the RER A stop "Nanterre Ville". 
To plan your arrival, we suggest usi ng the RATP route planner available here: http://www.ratp.fr/itineraires/en/ratp/recherche-avancee If you encounter any difficulties with the planner, please email us your travel de tails and we’ll check the best route for you.

Participants staying at the hotel will be provided upon their arrival with RER tickets for the dail y commuting between the hotel and the university (1 stop).

It is also possible to walk the distance, should you prefer to do so.
Easiest way to ar rive, whether from Paris or from the hotel, is by RER A, stop "Nanterre Université". It is also possible to walk from the Hotel to the University (straight walk, ca. 20 min).
The colloquium takes place on the campus of Nanterre University, building B, Salle des Conférences. Belo w is a map of the campus.

 

map qualys

 

map qualys fac

2014 plan du campusNanterre legende

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Meals

Lunches will be served at the university’s restaurant on campus — the pin k building on the map above, named Resto U.

Invited speakers arriving on the 19th afternoon are invit ed for dinner at Hotel Qualys.

Dinners and vocal workshops on 20th and 21st will take place at the "Ferme du Bonheur". This is just in front of the building marked "MAE" in green on the map (but it is n ot a component of the University, therefore it doesn’t appear on the map).< /span>

Farewell dinner on 22nd will take place at Flam’s restaurant in Pari s (Rue des Lombardshttp://crem-cnrs.fr/plugins/system/jcemediabox /img/zoom-link.gif); background-color: transparent; display: inh erit; background-position: right center; background-repeat: no-repeat no-re peat;">).

The intention of this colloquium on Liminal utte rances is to discuss "hands on", with as many audio and video examples as p ossible. The Multimedia Presentations are an experiment in that direction. Presenters were invited to combine audiovisual data and analysis in order t o produce a (more-or-less) self-standing video file containing an argument or simply raising questions about the illustrated sound practices. These fi les are available below. They will also be played during the conference, wh ere each of them will be followed by extensive discussion sessions with the ir authors. Click on an image below to start a presentation (should open an popup with a HTML5 video).

Liminal utterances: m ultimedia presentations

Between Spe ech and Song: Liminal utterances of sadness in Anatolia and the Caucasus

Amy de la Bretèque — view t he presentation ESTELLE AMY DE LA BRETEQUE (CREM-LESC/CNRS, France)

This presentation expl ores the practice of melodized speech in the Caucasus and Anatolia. Taking as a case study the Yezidi Kurds in Armenia, it explains why this practice, linked to the narration of sad events, stands at the border between speech and song in the local typology of vocal production. On a wider area, the c omparison of three case studies from fieldwork conducted in Azerbaijan, Tur key and Armenia shows how elderly women integrate melodized speech in daily conversations. Beyond religious, national and linguistic differences, the similarity of these practices suggests a shared social-vocal nexus in Anato lia and the Caucasus.





T he vocality of a religious poem among the Pomaks

Eftychia Droutsa — view the presentati onEFTY CHIA DROUTSA (Iremus/University Paris 4 Sorbonne, France)

 

This work questions “vocality”, that is t he sound production of speech and song among the Pomaks through their relig ious poem called mevlud.

Dating from the 15th century, the mevlud is a poem attributed to t he poet Suleyman Çelebi, in which he relates the birth, the life and the de ath of the Prophète Mohamed. It is written in osmanli (Othoman, ancient Tur kish in arabic characters) in the poetic form of masnavi, structured in a s eries of versified distiches where each verse adheres on a metric regularit y of eleven syllables. We find this poem among Pomaks, a mountain populatio n, muslim and trilingual, who speaktheir own Slavic dialect - Pomak -, Gree k and Turkish. They live in the north of Greece in the area of Thrace and a re recognized officially as “a religious minority” by the Greek Government. Pomaks learn to read the mevlud, on which they adapt a repetitive motif bo rrowed, modified and customized according to individual preferences and abi lities. However, most of them do not understand the literal meaning of the poetic text. It is in this particular context, where the words are detached from their litteral meaning and become a medium for statement, that we wil l approach the duality of speech and song through a sound editing, where th e words are sung, whispered, muttered, recited or simply said.





Development of turn taking in vocal interaction between mothers and infants aged between 2 and 4 months

Click to play the pres entationRUBIA INFANTI & EBRU YIL MAZ (Laboratoire Ethologie, Cognition, Development -EA 3456-, University Pa ris-West, France)

Infants are known t o engage in conversation-like exchanges from the end of the second month af ter birth. These ‘protoconversations’ involve both turn-taking and overlapp ing vocalization. Previous research has shown that the timing of adult-infa nt turn-taking sequences is close to that of adult verbal conversation. The gap between turns in protoconversational exchange seldom exceeds 500ms. It has also been shown that young infants adjust the quality of their vocaliz ation in response to the quality and timing of adult vocalization. Furtherm ore, turn-taking exchanges often involve mutual imitation of sounds, pitche s and melodic contour. We present new evidence of the timing and temporal o rganization of turn-taking interaction between mothers and 2 to 4-month-old s recorded in naturalistic contexts based on a corpus of recordings from 50 French dyads. All of them were recorded in naturalistic contexts, in their home, when infants were in a quiet alert state. The entire sample comprise d a total of 2943 vocalizations of which 748 (25.4%) were produced by the i nfants, 1851 (62.9%) were produced by the mothers, and 344 were overlapping vocalizations (11.7%). In all, 489 turns taking sequences were identified. The quality and duration of infant vocalizations differed according to whe ther or not they were produced within a turn-taking sequence. Finally, leng th and number of turns were highly correlated between mothers and infants v ocalizations.

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Su ng assemblies or declaimed songs? The samburu soloists (Kenya) on the borde r between political discussion and musical activity

Giordano Marmone — View the presentationGIORDANO MARMONE (CREM-LESC/University Paris West)

Among the Samburu of Kenya the leaders and the spokesmen of the warriors' age-grade, the so-called larikok, play a fundame ntal role in both political and musical domains. The oratorical skills of w hich they must be provided to protect the interests of the warriors during the assemblies, core of the Samburu political system, also allow them to st and out as main soloists during the singing and dancing





 

 

Ferdinand Br unot and the Archives de la Parole

FRANÇOIS PICARD (Iremus, University Paris 4 Sorbonne, Fr ance)

The Archives de la Parole or Sp oken Archives have been founded by the French historian of French language and grammarian Ferdinand Brunot at Sorbonne university in 1911. Using a Pat héphone phonograph, he recorded spoken or singing voices, he classified in main sections: I for “interprètes”, O for “orateurs”, L for «langues”, D fo r “dialectes”. Taking it as a solid corpus, we analyse it using digital too ls according to the relation between pitch, intensity and timbre, and find it possible through strong descriptors to recover local, culturally meaning ful, categories. The question of whether this new categorisation could be u niversal will be asked.sessions. This double form of authority is based on what, among the Samburu, is considered as one of the essential features of male leadership: the ability of “dominating the words” in all their forms, both sung and spoken. At the same time, this connection between political d ebate and soloist singing is not focused exclusively on the double social r ole of the larikok. The vocal technique that characterizes a big part of th e Samburu's musical repertoire, in fact, is definable as a form of speech s haped around the rhythm of the dance. It confers to the melodic contour of the soloist's part the prosodic characteristics of the spoken language, mak ing Samburu choral songs a sort of oratorical confrontation between soloist s, very close, structurally and verbally, to the assemblies' debate scheme. The process of decision-making and the composition of the songs' lyrics le ad, in both cases, to the creation of accounts which aim to expose opinions and stories based on real events. But if during the assemblies the speaker s' purpose is to use their own charisma for the political administration of the community as representatives of an age-grade's or an age-set's interes ts, during the singing and dancing sessions the soloists have the responsib ility to stand for their age-group and share with the listeners the narrati ve of its collective memory, contributing to assert its presence within the society.

DTSTAMP:20260520T050428 DTSTART;TZID=Europe/Paris:20150520T093000 DTEND;TZID=Europe/Paris:20150522T180000 SEQUENCE:0 TRANSP:OPAQUE END:VEVENT END:VCALENDAR